Come See the Show, Not an Individual

In reference to David Butler’s letter, published in the Saturday Letters column, audiences are learning to come to see the play, not the performer.

It is understandable to be a bit disappointed when attending a theatrical performance, such as “The Phantom of the Opera,” only to find an understudy going on in place of one of the lead performers, or even the Phantom himself, currently being brilliantly played by Michael Crawford.

There is an adage in the theater that means a great deal to us show folk: “The show must go on!” It is a good thing for audiences that we actors adhere to this, otherwise show-goers would be constantly disappointed, as actors are as prone to illness as anyone, perhaps more so due to the highly physical nature of their art (dancing, singing, etc.).

I should point out that the Ahmanson Theatre and the producers of “The Phantom of the Opera” do not advertise any particular individual in their ticket campaign. The trend in show business today has been to make the “show” the star.

This is certainly different from the days of Ethel Merman or Alfred Drake, when stars got billing above the title. But the rise of importance of the British musical has brought with it a shift in emphasis away from the performer and to the performance. That is why there are about 20 companies of “Les Miserables,” about 11 of “Phantom” and many “Cats” worldwide. The original “stars” cannot be everywhere.

Our advertising campaign states “Buy Phantom, by Phone.” Any individual actors as an advertising lure may be practiced by ticket brokers, “Entertainment Tonight” or the like, but certainly not by the production itself. Our promise is that even if a lead actor is out ill, you will still get every bit of your money’s worth.

Interestingly enough, the tickets for the period covering Michael Crawford’s current engagement (December through March 31, now extended to April 28) were 90% sold prior to the announcement that he would return. We are currently selling tickets into November, well after his announced dates. Clearly, some people are anxious to see the show, regardless of who is in it.

And just who is in it? I can assure you that the producers and the director go to great pains to insure that when understudies go on due to illness or vacations, they are thoroughly rehearsed, and of substantial talent in their own right. Often, an entire cast will be energized by an understudy getting “their chance,” giving a truly memorable performance because of that little extra energy.

Believe me, understudies do begin an evening with one strike against them: The audience wishes the lead actor were on instead. So you have to persuade them you are in charge, that it’s all right to relax and enjoy the show.

When understudies Norman Large, or Joseph Dellzer go on for Michael Crawford in “Phantom,” they are inevitably greeted by the same standing ovation the show has received nightly since it opened. In particular, Large has developed a following of his own, having been on about 20 times for Crawford and Robert Guillaume. These people believe they have seen a new Crawford in the making, and perhaps they are right. They have certainly seen a wonderful show.

Shirley MacLaine is perhaps the best example of an understudy going on to great fame when she took over for an ailing Carol Haney in “The Pajama Game.” Seeing an understudy is often a chance to catch the first performance of a rising star.

When all is said and done, by the time you get to the theater, there is very little you can do about it anyway. People are either out sick, or they are not; on vacation, or not.

The producers have promised to deliver you a good show no matter what, and, in most cases, the good show gets delivered. Opt for the positive approach. Get over your disappointment, relax and look forward to seeing an understudy of great talent get his or her big break. And if you simply have to see the star, well, you can always buy another ticket and come back.